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Los 1
MULLER FRÈRES; France, ca. 1910.Art Nouveau vase.Acid-etched multi-layered glass paste.Signed "Muller Frères Luneville".Procedure: Private Collection, Spain between 1970-1990.Measurements: 11 x 10 x 6.5 cm.Acid-etched glass vase, composed of two layers of glass, the lower one of an amber tone and the upper one dark brown, almost black in the areas where it retains its full thickness, and almost orange, more translucent, where it has been thinned more. The acid-etched motif depicted is a lake landscape on two planes, which are clearly separated by the lake that runs between them. The difference in thickness (and therefore in tone) has been used to reflect the depth of the space in a naturalistic way.The Muller brothers began working for Gallé, and later established their own glassworks in Luneville. Years later, production moved to Croismare, and the pieces were signed "Muller Croismare". The firm produced mottled glass and acid-etched cameo glass, mainly between 1905 and 1937.Cameo glass has been known since ancient times, although it was revived at the end of the 19th century in France and England. Gallé presented his acid-etched cameo technique at the Paris Exhibition of 1889, with the aim of bringing modernist glass to the public. It was a quicker and cheaper form of decoration than the wheel-engraved cameo, resulting in more affordable, mass-produced but handmade pieces, as no stencils were used and the motif was hand-drawn on each piece. The cameo glass technique consists of blowing a bubble of two or more layers of glass of different colours, which are then cut or removed by acid etching the bottom, thus leaving the motif in relief, in the colour of the top layer of glass.
Los 49
"ONCE UPON A TIME"; CAMILLE TUTRÉ VARREUX (France, 1872-1942).Art Nouveau vase, ca.1905.Acid-etched cameo glass.Marked "De Vez", pseudonym of Camille Tutré Varreux, master glassmaker of the Pantin firm from 1907.Measurements: 17 cm (height) x 12 cm (diameter).Multi-layered glass vase with a flared shape and a petal-shaped mouth. The decoration consists of a lake landscape of great detail and perfection (in the foreground branches and holm oak fruits, a young man passing the river in a boat and, in the background, houses and other vegetation). Cameo glass is a technique that has been known since ancient times, although it was revived in Europe at the end of the 19th century. The main innovation was the use of hydrofluoric acid instead of carving, which made it more widespread and cheaper to produce. The technique consists of blowing a bubble of two or more layers of glass of different colours, which are then carved or removed by acid etching the background, leaving the motif in relief, in the colour of the top layer of glass.The Cristallerie de Pantin was founded by E.S. Monot in 1851 in Pantin, near Paris. It developed a not very large production, marked by the variety and the high quality of its pieces, being today especially known for its cameo glass pieces and its paperweights. The name "De Vez" was used by Cristallerie de Pantin for its cameo glass production from 1907 and is the pseudonym of Camille Tutré Varreux, master glassmaker of the Pantin firm.
Los 484
AFTER ROGER LAW "Creeping frog" etching, limited edition No'd 3/25 exhibited "The Fine Arts Society, Roger Law in the Land of Oz" 2005 bears label verso 39 cm x 35 cm together with AFTER FRED MIDDLEHURST "Cotswold hill park" coloured etching, limited edition No'd 21/75 bears label verso 33 cm x 51 cm together with six other various pictures, mixed media studies etc
Los 494
AFTER LIONEL EDWARDS "The Challenge Exmoor" coloured print, signed in pencil 36 cm x 55 cm, AFTER HENRY WILKINSON "Fishing" dry point etching, No'd 106/180 signed in pencil bottom left 17 cm x 21 cm AFTER J BENSTED "Maidstone Grand Steeplechace" 31 cm x 36 cm and a new map of the County of Devon divided into hundreds, 2nd edition published 1804 49 cm x 54 cm
Los 171
λ David Hockney (British b. 1937)Portrait of Richard Hamilton (S.A.C. 126/Tokyo 118)Etching with aquatint, 1971An unsigned proof aside from the edition of 3034 x 26.5cm (13¼ x 10¼ in.)Provenance:A gift to the present owner circa 1985/86Condition Report: Unexamined out of glazed frame. Light discolouration to the image with a white circular blemish to the middle of the left edge. There is one light stain to the lower left corner of the margin and two areas of foxing, one to the left middle edge and one to the right middle edge. There are some light handling creasing visible to the lower margin and very slight undulation to the sheet. Otherwise the work appears to be in good original condition.Condition Report Disclaimer
Los 29
Brett Whiteley (Australian 1939-1992)MagpieSugarlift etching, 1977Signed in pencil and numbered 36/60Plate: 49.5 x 49cm (19¼ x 19¼ in.)Condition Report: Unexamined out of glazed frame. Light discolouration to the sheet with staining to the extreme edges. Otherwise appears to be in good original condition.Condition Report Disclaimer
Los 38
Walter Sickert (British 1860-1942)The Burning of the Japanese Exhibition at Knightsbridge, 1885 (Bromberg 68)Etching, second statePlate: 24.5 x 21cm (9½ x 8¼ in.)Provenance:Collection of Deny Sutton, LondonThomas Agnew & Sons Ltd., LondonStair Galleries, New York Acquired from the above by the present owners in 2013Exhibited:London, Thomas Agnew & Sons Ltd., Master and Pupil, March 1972, no. 51Condition Report: Examined out of the frame. The sheet is attached to the mount along the top edge. There are two areas of discolouration to the reverse in the bottom left and right corners consistent with old mounting tape. There is general time staining to the margins and scattered areas of very faint foxing throughout the sheet. Condition Report Disclaimer
Los 143
Bernard Kay (1927-2021) 'Composition', etching and aquatint, numbered 17/50, signed in pencil lower right, unframed, 52cm x 76cm, another by the same artist 'Las Casas de Los Olvidados', artists proof, signed and dated 1963 in pencil lower right, unframed, 49.5cm x 62cm, and one other by the same artist 'Interior at Portiers', etching, trial proof, signed in pencil lower right, unframed, 51cm x 65cm (3)Condition report: Some creasing and small folds to the corners in places. Minimal foxing and staining to the outer edges and borders. This could easily be concealed when framed. Otherwise ok.
Los 190
Angela Newberry (b.1934) 'Australian landscape II', etching and aquatint, numbered 4/100, signed in pencil lower right, 51cm x 58.5cmCondition report: Overall ok with minimal display wear to the frame. Minor wrinkling to the paper under the glass, very small number of foreign objects under the glass.
Los 249
After Pierre-Auguste Renoir (1841-1919)'Baigneuse debout, a mi-jambes', etching, with provenance label to the reverse, 18cm x 11cmCondition report: Overall ok, with minimal display wear and marks to the frame as expected. Minor foxing and blemishes. Please note we have not removed this piece from the frame to examine.
Los 538
KATHLEEN CADDICK (b.1937), Snow on the Pennines, etching in colours, limited edition 189/350, signed and inscribed in pencil, plate size 12 1/2" x 15 3/4", aluminium frame, together with four others, similar (4) (Est. plus 21% premium inc. VAT)Generally very good condition, two framed without a mount and some glue(?) brown staining to back board, etchings fine
Los 142
An important tankard with cover from the collection of King Fernando II (1816-1885)Portuguese silver tankard with cover, 19th century Double body, the inner in plain gilt silver and the outer of profuse repoussé and chiselled decoration with classical female masks, floral and foliage motifs and fruits, interlaced with volutes Fruit basket lid pommel Acanthus leaf, foliage motifs and classical bearded mask decoration to handle and neo-medieval thumbpiece with female bust Marked with King Fernando's gothic F monogram under the Royal Crown and inventory number 36 Maker's mark CIMS for Cirilo José Maz da Silva (L-198.0), registered June, 9th 1826 and Lisbon city mark (L-42.0) for ca. 1822 to ca. 1860Literature: F. Moutinho de Almeida/Rita Carlos "Inventário de Marcas de Pratas Portuguesas e Brasileiras" séc. XV a 1887 pp. 141, 111Height: 16 cm845 g Catalogue EssayAn unquestionable defining figure within the Portuguese 19th century cultural panorama, King Fernando II (Ferdinand of Saxe-Coburg-Gotha-Koháry, (Vienna 1816 – Lisbon 1885) would reveal himself, soon after his arrival in Portugal following his marriage to Queen Maria II of Portugal (1819-1853), as a committed and knowledgeable art collector. Amongst the broad scope of his interests, gold smithery certainly occupied a most relevant position as can be assessed from the 1866 inventory of his estate. In this long manuscript list, compiled by the king himself, all the collected objects are described and classified, possible manufacture dates proposed, and technical and aesthetic analyses annotated. This inventory is also revealing in terms of provenances, both in terms of which objects were King Fernando’s own acquisitions and which were gifted to him. Additionally, to dissipate any possible doubts on their ownership, the king also noted at the end of each entry: “Propriedade Minha” (My Own Property). Bequeathed to the Pena National Palace, in whose archive it is now preserved, this important inventory has recently been studied and published on-line, allowing for a deeper knowledge of various objects that have, through time, been dispersed, and are now owned by various public and private collections, or whose location is unknown, as a consequence of the splitting of the inheritance upon the King’s death. The tankard now brought to sale at auction by Veritas is recorded in this inventory list under nr.119, book I, which lists “Objects in silver, gold, etc.”: N.º 119) Caneca de prata por dentro dourada em relevo e cinzelada. Feita no estilo da renaissance, na officina de R. Pinto. Foi-me dada pela rainha D. Maria II de saudosa memoria, é uma bonita peça e tem a particularidade de me ter servido desde os primeiros annos depois da minha chegada a este paiz até ao dia de hoje, para conter a agoa para lavar a bocca; e accompanhou-me em muitas viagens n’este paiz. – Tem tampa móvel. Propr. minha. (Nr. 199) Silver tankard gilded on the inside in reliefs and chiselled. Made in the Renaissance style at the workshop of R. Pinto. It was gifted to me by Queen Maria II of wistful memory, it is an elegant piece and it has the peculiarity of having served me from the early years of my arrival to this country up untiltoday, to hold water to wash my mouth; and it has accompanied me in many travels through this country. – It has a mobile cover. My Property.) It is thus confirmed that the tankard was made in the workshop of Raimundo José Pinto (1807-1859), the Royal Silversmith that was also, certainly not coincidentally, the main supplier of both antique and modern silver pieces to the King consort. A master goldsmith, Raimundo José Pinto established himself as a businessman and dealer, having owned a very active workshop where Cirilo José Maz da Silva worked and whose mark (registered 1826) has been identified in this the tankard. Raimundo was also the co-owner of the firm Pinto & Sousa, based at Rua da Prata, in Lisbon, which after his death, becomes the renowned jeweller Estevão de Sousa. The inventory also clarifies that the tankard was a gift from Queen Maria II, prematurely dead in 1853, as well as that it was used for the King’s oral hygiene, a fact that explains its plain gilt interior. The fact that it accompanied King Fernando in his travels, from his early days in Portugal, suggests that it was a cherished object, as it can be expected within the Romantic sentimental context of the time, and independently of the antiquity or artistic merit that in general defined his collecting criteria, so clearly assessed from the secular 16th century Portuguese silver collection, partly preserved at Ajuda National Palace. Aware of her husband’s collecting interests, D. Maria gifted him other gold and silver pieces that are also described in the inventory and whose present location remains mostly unknown. D. Fernando refers such gifts in the “memorial diary” written following the Queen’s death, a document also kept in the Portuguese National Archives, a section of which we transcribe herewith: “Maria era tão boa, que prazer ela tinha em adivinhar os meus gostos. Para me ser agradável, ela, que antes não tinha a menor ideia de tais coisas, aprendera a apreciar e a amar as obras de arte. Com que alegria ela me trazia uma gravura de um bom mestre, alguma linda água-forte antiga ou algum belo trabalho em prata ou em prata dourada! Tudo o que veio dela, tudo o que ela arranjou e instalou comigo será sempre querido e precioso!” (Maria was very kind and had genuine pleasure in guessing my tastes. To be agreeable to me, she, who before had no idea of such things, had learned to enjoy and to love works of art. She would joyfully bring me a print by a renowned master, a charming antique etching or some beautiful silver or gilt-silver object! Everything that came from her, everything that she found and fitted with me will always be cherished and precious!). The tankard herewith described was engraved on the base with the King’s ownership mark (gothic script F) and the number 36, corresponding, not to the inventory referred above, but to another list compiled by a secretary in 1858, which is equally preserved at the National Archives. It this inventory it is described as “trabalho moderno, imitando o antigo, com cinco mascarões, sendo um na aza” (modern work copying the antique, with five classical masks, one in the handle). Following King Fernando II’s death it was eventually inventoried in his Necessidades Palace apartments Toilette, under nr. 2283, a detail that suggests that it had maintained the use for which it was originally destined. Described as “replicating Renaissance work” it was valued, for inheritance purposes, at 36 thousand reals. According to this post mortem inventory, also preserved at the National Archives, it became part of the lot inherited by Prince Afonso, Duke of Porto (1865-1920), commonly known as “O Arreda” (The Move Away), for his early interest in automobiles and speed. It was probably disposed of during the prince’s life, as was the case with other objects inherited from his grandfather which were acquired by Counsellor João Arroyo (1861-1930) and subsequently auctioned in the latter 1905 estate sale.Hugo XavierLiterature: Hugo Xavier, “Propriedade Minha”: ourivesaria, marfins e esmaltes da coleção de D. Fernando II, Coleções Em Foco | Palácios Nacionais |Sintra Queluz Pena, n.º 4, PSML, 2022. Disponível online em www.parquesdesintra.pt
Los 146
Margaret Ashman Storms Photo Etching on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Margaret Ashman was born in 1959 in Northampton. After an Oxford degree and short career in Physics, she later went on to study Fine Art at the University of Hertfordshire and Printmaking at the University of Brighton. She is Fellow of the Royal Society of Painter Printmakers and member of the Printmakers Council which she chaired from 2011 - 2017. She exhibits widely throughout the UK and overseas, and her work is in many collections. She lives and works in London. Education MA Printmaking and Professional Practice, University of Brighton and London Print Studio 2003 - 2005 BA Fine Art, University of Hertfordshire 1998 - 2003 MA Physics, Somerville College, Oxford 1977 - 1980 Select Exhibitions/Awards EXHIBITIONS 2022 Solo Show - The Swiss Church, London 2021/2020/2019 The Royal Academy Summer Exhibition 2019 Solo Show - The Muse Gallery 2020 Figurative Art Now Mall Galleries 2010 ING Discerning Eye Exhibition 2018 Novosibirsk Triennial - Russia 2017 Light Matter - Grunwald Gallery, Indiana 2016 Shifting Subjects Film - Usher Gallery 2015 Good Figures, Mall Galleries - London 2014 Reading People, National Art Museum - Shanghai AWARDS AND RESIDENCIES 2019 Lawrence Art Supplies Prize, RE Originals, Bankside Gallery 2017 Hot Bed Press Purchase Prize, The Masters, Bankside Gallery 2017 London Print Studio Summer Exhibition, 1st Prize Winner 2015 Shifting Subjects Arts Council Commission, Abbey Walk Gallery 2012 Intaglio Printmaker Award, RE Members exhibition 2011 International Print Prize, 3rd Guanlan Print Biennial 2009 Artist in Residence, Guanlan Print Base, China Gallery Representation Printroom Studio - Suffolk Bankside Gallery, London The Muse Gallery, Notting Hill Rheged Gallery, Penrith Statement about AOAP Submitted Artwork This set of small photo etchings were developed from video footage of the Chinese contemporary dancer Lico, or Kehua Li - with her permission. Each work is printed from two etching plates on a traditional Rochat etching press on heavy etching paper, using muted colours. The titles of the works are borrowed from songs by Fleetwood Mac and Stevie Nicks, reflecting their strong emotional charge.
Los 147
Margaret Ashman Nightbird Photo Etching on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Margaret Ashman was born in 1959 in Northampton. After an Oxford degree and short career in Physics, she later went on to study Fine Art at the University of Hertfordshire and Printmaking at the University of Brighton. She is Fellow of the Royal Society of Painter Printmakers and member of the Printmakers Council which she chaired from 2011 - 2017. She exhibits widely throughout the UK and overseas, and her work is in many collections. She lives and works in London. Education MA Printmaking and Professional Practice, University of Brighton and London Print Studio 2003 - 2005 BA Fine Art, University of Hertfordshire 1998 - 2003 MA Physics, Somerville College, Oxford 1977 - 1980 Select Exhibitions/Awards EXHIBITIONS 2022 Solo Show - The Swiss Church, London 2021/2020/2019 The Royal Academy Summer Exhibition 2019 Solo Show - The Muse Gallery 2020 Figurative Art Now Mall Galleries 2010 ING Discerning Eye Exhibition 2018 Novosibirsk Triennial - Russia 2017 Light Matter - Grunwald Gallery, Indiana 2016 Shifting Subjects Film - Usher Gallery 2015 Good Figures, Mall Galleries - London 2014 Reading People, National Art Museum - Shanghai AWARDS AND RESIDENCIES 2019 Lawrence Art Supplies Prize, RE Originals, Bankside Gallery 2017 Hot Bed Press Purchase Prize, The Masters, Bankside Gallery 2017 London Print Studio Summer Exhibition, 1st Prize Winner 2015 Shifting Subjects Arts Council Commission, Abbey Walk Gallery 2012 Intaglio Printmaker Award, RE Members exhibition 2011 International Print Prize, 3rd Guanlan Print Biennial 2009 Artist in Residence, Guanlan Print Base, China Gallery Representation Printroom Studio - Suffolk Bankside Gallery, London The Muse Gallery, Notting Hill Rheged Gallery, Penrith Statement about AOAP Submitted Artwork This set of small photo etchings were developed from video footage of the Chinese contemporary dancer Lico, or Kehua Li - with her permission. Each work is printed from two etching plates on a traditional Rochat etching press on heavy etching paper, using muted colours. The titles of the works are borrowed from songs by Fleetwood Mac and Stevie Nicks, reflecting their strong emotional charge.
Los 149
Margaret Ashman Songbird Photo Etching on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Margaret Ashman was born in 1959 in Northampton. After an Oxford degree and short career in Physics, she later went on to study Fine Art at the University of Hertfordshire and Printmaking at the University of Brighton. She is Fellow of the Royal Society of Painter Printmakers and member of the Printmakers Council which she chaired from 2011 - 2017. She exhibits widely throughout the UK and overseas, and her work is in many collections. She lives and works in London. Education MA Printmaking and Professional Practice, University of Brighton and London Print Studio 2003 - 2005 BA Fine Art, University of Hertfordshire 1998 - 2003 MA Physics, Somerville College, Oxford 1977 - 1980 Select Exhibitions/Awards EXHIBITIONS 2022 Solo Show - The Swiss Church, London 2021/2020/2019 The Royal Academy Summer Exhibition 2019 Solo Show - The Muse Gallery 2020 Figurative Art Now Mall Galleries 2010 ING Discerning Eye Exhibition 2018 Novosibirsk Triennial - Russia 2017 Light Matter - Grunwald Gallery, Indiana 2016 Shifting Subjects Film - Usher Gallery 2015 Good Figures, Mall Galleries - London 2014 Reading People, National Art Museum - Shanghai AWARDS AND RESIDENCIES 2019 Lawrence Art Supplies Prize, RE Originals, Bankside Gallery 2017 Hot Bed Press Purchase Prize, The Masters, Bankside Gallery 2017 London Print Studio Summer Exhibition, 1st Prize Winner 2015 Shifting Subjects Arts Council Commission, Abbey Walk Gallery 2012 Intaglio Printmaker Award, RE Members exhibition 2011 International Print Prize, 3rd Guanlan Print Biennial 2009 Artist in Residence, Guanlan Print Base, China Gallery Representation Printroom Studio - Suffolk Bankside Gallery, London The Muse Gallery, Notting Hill Rheged Gallery, Penrith Statement about AOAP Submitted Artwork This set of small photo etchings were developed from video footage of the Chinese contemporary dancer Lico, or Kehua Li - with her permission. Each work is printed from two etching plates on a traditional Rochat etching press on heavy etching paper, using muted colours. The titles of the works are borrowed from songs by Fleetwood Mac and Stevie Nicks, reflecting their strong emotional charge.
Los 156
Gina Parr Mysore India 2013 Photograph Printed on Hahnemuehle 310gsm German Etching Paper with Archival Inks Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Scape, memory and identity are ever present in my work. My childhood, spent diversely in wide-open spaces with my father fishing for mackerel and at home with my mother's hoarding and mental health issues, defined my relationship to the sea and land: The uncertainty of the deep, the spirit and memory of the open space, evoking freedom and connectedness. I do not wish to recreate those experienced places, but to unearth the truth, to centralise the feelings and emotions that were and are present and to not be afraid of the material of my past. My work is an expression of the intermingling of both joy and pain: the human condition. Education Originally trained as a Fine Artist at Coventry University, graduating with a First Class BA Honours Degree, she went on to Chelsea College of Art to study set design, leading to a 25-year career in Production Design, working on many prestigious shows for television. She returned to her Artist's practice in 2007. Select Exhibitions/Awards Solo Exhibitions / Commissions 2021 Commission of 4 large works at Neon Gallery London for Squire & Partners London 2019 "Deceived with Ornament" Renata Maiblum Gallery Copenhagen 2019 Solo show "Night Fishing" David Lolly Gallery Cambridge 2018 Solo show "Casting off" Brook Contemporary Budleigh Salterton Devon 2018 Commission Belmond Cadogan Hotel London - Artefact Hotel Consultants 2018 Commission Belgium - Artefact Hotel Consultants 2017 Commission for 2 large works for the Middle East - Artefact Hotel Consultants 2014 Solo show Candida Stevens Gallery Chichester 2013 Four paintings purchased by Keble College Oxford Permanent Collection Awards 2021 Associate member of Society of Women Artists 2020 Shortlisted and Exhibition The Chaiya Art Awards (online) 2017 Aesthetica Art Prize Longlisted 2014 Aesthetica Art Prize Longlisted 1981 Awarded Arts Council England Grant 1980 Awarded Arts Council England Grant Gallery Representation Irving Contemporary Oxford, The Stratford Gallery Broadway, The Archive Gallery Salisbury, Rise Art London. Statement about AOAP Submitted Artwork When she is traveling and away from her painting studio, Parr uses a camera as her way of 'painting' whilst on the move, often mistaken as reproductions of her paintings, her photographs are Original Limited-Edition pieces. Renata Maiblum Art Consultancy Copenhagen says of Parr's work: Parr´s approach is a microcosm of surface, fragments of diversity founded on variety of exteriors; some human made, others adopting form by natural causes. Their very strong presence lends them the appearance of enlarged particles, those vibrant atoms of the country. The images exist by themselves, without need for definitions or description and, with their tactile and lively texture, seem as paintings. These 4 Photographs which were taken, paradoxically, in the overpopulated and chaotic streets in Southern India become chimerical worlds and fictional places.
Los 158
Gina Parr Mahabalipuram India 2013 Photograph Printed on Hahnemuehle 310gsm German Etching Paper with Archival Inks Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Scape, memory and identity are ever present in my work. My childhood, spent diversely in wide-open spaces with my father fishing for mackerel and at home with my mother's hoarding and mental health issues, defined my relationship to the sea and land: The uncertainty of the deep, the spirit and memory of the open space, evoking freedom and connectedness. I do not wish to recreate those experienced places, but to unearth the truth, to centralise the feelings and emotions that were and are present and to not be afraid of the material of my past. My work is an expression of the intermingling of both joy and pain: the human condition. Education Originally trained as a Fine Artist at Coventry University, graduating with a First Class BA Honours Degree, she went on to Chelsea College of Art to study set design, leading to a 25-year career in Production Design, working on many prestigious shows for television. She returned to her Artist's practice in 2007. Select Exhibitions/Awards Solo Exhibitions / Commissions 2021 Commission of 4 large works at Neon Gallery London for Squire & Partners London 2019 "Deceived with Ornament" Renata Maiblum Gallery Copenhagen 2019 Solo show "Night Fishing" David Lolly Gallery Cambridge 2018 Solo show "Casting off" Brook Contemporary Budleigh Salterton Devon 2018 Commission Belmond Cadogan Hotel London - Artefact Hotel Consultants 2018 Commission Belgium - Artefact Hotel Consultants 2017 Commission for 2 large works for the Middle East - Artefact Hotel Consultants 2014 Solo show Candida Stevens Gallery Chichester 2013 Four paintings purchased by Keble College Oxford Permanent Collection Awards 2021 Associate member of Society of Women Artists 2020 Shortlisted and Exhibition The Chaiya Art Awards (online) 2017 Aesthetica Art Prize Longlisted 2014 Aesthetica Art Prize Longlisted 1981 Awarded Arts Council England Grant 1980 Awarded Arts Council England Grant Gallery Representation Irving Contemporary Oxford, The Stratford Gallery Broadway, The Archive Gallery Salisbury, Rise Art London. Statement about AOAP Submitted Artwork When she is traveling and away from her painting studio, Parr uses a camera as her way of 'painting' whilst on the move, often mistaken as reproductions of her paintings, her photographs are Original Limited-Edition pieces. Renata Maiblum Art Consultancy Copenhagen says of Parr's work: Parr´s approach is a microcosm of surface, fragments of diversity founded on variety of exteriors; some human made, others adopting form by natural causes. Their very strong presence lends them the appearance of enlarged particles, those vibrant atoms of the country. The images exist by themselves, without need for definitions or description and, with their tactile and lively texture, seem as paintings. These 4 Photographs which were taken, paradoxically, in the overpopulated and chaotic streets in Southern India become chimerical worlds and fictional places.
Los 159
Gina Parr Coast Exmouth 2012 Photograph Printed on Hahnemuehle 310gsm German Etching Paper with Archival Inks Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Scape, memory and identity are ever present in my work. My childhood, spent diversely in wide-open spaces with my father fishing for mackerel and at home with my mother's hoarding and mental health issues, defined my relationship to the sea and land: The uncertainty of the deep, the spirit and memory of the open space, evoking freedom and connectedness. I do not wish to recreate those experienced places, but to unearth the truth, to centralise the feelings and emotions that were and are present and to not be afraid of the material of my past. My work is an expression of the intermingling of both joy and pain: the human condition. Education Originally trained as a Fine Artist at Coventry University, graduating with a First Class BA Honours Degree, she went on to Chelsea College of Art to study set design, leading to a 25-year career in Production Design, working on many prestigious shows for television. She returned to her Artist's practice in 2007. Select Exhibitions/Awards Solo Exhibitions / Commissions 2021 Commission of 4 large works at Neon Gallery London for Squire & Partners London 2019 "Deceived with Ornament" Renata Maiblum Gallery Copenhagen 2019 Solo show "Night Fishing" David Lolly Gallery Cambridge 2018 Solo show "Casting off" Brook Contemporary Budleigh Salterton Devon 2018 Commission Belmond Cadogan Hotel London - Artefact Hotel Consultants 2018 Commission Belgium - Artefact Hotel Consultants 2017 Commission for 2 large works for the Middle East - Artefact Hotel Consultants 2014 Solo show Candida Stevens Gallery Chichester 2013 Four paintings purchased by Keble College Oxford Permanent Collection Awards 2021 Associate member of Society of Women Artists 2020 Shortlisted and Exhibition The Chaiya Art Awards (online) 2017 Aesthetica Art Prize Longlisted 2014 Aesthetica Art Prize Longlisted 1981 Awarded Arts Council England Grant 1980 Awarded Arts Council England Grant Gallery Representation Irving Contemporary Oxford, The Stratford Gallery Broadway, The Archive Gallery Salisbury, Rise Art London. Statement about AOAP Submitted Artwork When she is traveling and away from her painting studio, Parr uses a camera as her way of 'painting' whilst on the move, often mistaken as reproductions of her paintings, her photographs are Original Limited-Edition pieces. Renata Maiblum Art Consultancy Copenhagen says of Parr's work: Parr´s approach is a microcosm of surface, fragments of diversity founded on variety of exteriors; some human made, others adopting form by natural causes. Their very strong presence lends them the appearance of enlarged particles, those vibrant atoms of the country. The images exist by themselves, without need for definitions or description and, with their tactile and lively texture, seem as paintings. These 4 Photographs which were taken, paradoxically, in the overpopulated and chaotic streets in Southern India become chimerical worlds and fictional places.
Los 169
Lucy MJ Ball Looking Back Pen, Ink and Gouache on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lucy was born in 1956 and has lived in the UK since then. She studied at Swansea College of Art on the foundation course and at Canterbury College of Art on the Fine Art course, specialising in painting. Later on, as a mature student, she studied History of Art at Birkbeck College, University of London. Before moving to Devon from Oxfordshire in 1997, Lucy was principally a painter, once in Devon her practice as an artist went on hold for many years and for very many reasons. Returning to her practice she found herself producing very different work. Having done very little printmaking previously, she became captivated by the medium and in particular etching and aquatint. She exploits the darkness of the technique which perfectly suits much of her imagery which is often of dark subject matter peppered with a similarly dark humour. Subject matter is mostly to do with the human condition, relationships of people, of people and place and of people and animals. Lucy's subject matter is also informed by literature and myth. She also sees it as a cathartic process. The alchemical violence of the etching process perfectly suits this subject matter. She enjoys the unpredictability of printmaking and the surprises it creates. The process of etching provides her with a feeling of alchemically creating magic. It is a process requiring both creativity and a patient, often slow but considered adherence to technical considerations. Considerations which can of course, be bent and manipulated. Lucy suggests that monotype printmaking satisfies a need for intuitive and often unlikely outcomes, this medium along with drawing feeds and adds to her library of images and scenarios. Select Exhibitions/Awards 2021 Selected for Woolwich Contemporary Print Fair November 2021 Selected for RA Summer exhibition September '21-January '22 2021 Limekiln Gallery, Cornwall Summer Exhibition 2020/21 Journey: A Mayflower 400 Project. A Transatlantic Touring Exhibition. Tamar Valley Printmakers UK and Printmakers of Cape Cod USA - Torre Abbey and Plymouth exhibitions 2020/21 RWA 168 Annual Open Exhibition 2020 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall 2019 Red Dot Art Mini Print Exhibition 2019 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2019 RWA 167 Annual Open Exhibition 2018 RWA 166 Annual Open Exhibition 2018 Red Dot Art Mini Print Exhibition 2018: RBSA Print Prize Open exhibition (third prize winner) 2018: International Mini Print - Seacourt (group) 2018: Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2017: Endelienta, open exhibition, Cornwall (group) 1991: HallRichards Gallery, London (solo) 1990: Cole and Cole Solicitors, Oxford (group) 1988: RWA, Bristol (136th annual open) 1988: Oxford Billboard project 1988: Red in Tooth and Claw, Westgate Exhibition Room, Oxford (group) 1987/8: Cahill and Grebler Gallery, London. Christmas show (group) 1986: Women on Men, Cahill and Grebler Gallery, London (group) 1980's: Open studio shows during the decade.
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Lucy MJ Ball Showroom Pen, Ink, Watercolour and Crayon on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lucy was born in 1956 and has lived in the UK since then. She studied at Swansea College of Art on the foundation course and at Canterbury College of Art on the Fine Art course, specialising in painting. Later on, as a mature student, she studied History of Art at Birkbeck College, University of London. Before moving to Devon from Oxfordshire in 1997, Lucy was principally a painter, once in Devon her practice as an artist went on hold for many years and for very many reasons. Returning to her practice she found herself producing very different work. Having done very little printmaking previously, she became captivated by the medium and in particular etching and aquatint. She exploits the darkness of the technique which perfectly suits much of her imagery which is often of dark subject matter peppered with a similarly dark humour. Subject matter is mostly to do with the human condition, relationships of people, of people and place and of people and animals. Lucy's subject matter is also informed by literature and myth. She also sees it as a cathartic process. The alchemical violence of the etching process perfectly suits this subject matter. She enjoys the unpredictability of printmaking and the surprises it creates. The process of etching provides her with a feeling of alchemically creating magic. It is a process requiring both creativity and a patient, often slow but considered adherence to technical considerations. Considerations which can of course, be bent and manipulated. Lucy suggests that monotype printmaking satisfies a need for intuitive and often unlikely outcomes, this medium along with drawing feeds and adds to her library of images and scenarios. Select Exhibitions/Awards 2021 Selected for Woolwich Contemporary Print Fair November 2021 Selected for RA Summer exhibition September '21-January '22 2021 Limekiln Gallery, Cornwall Summer Exhibition 2020/21 Journey: A Mayflower 400 Project. A Transatlantic Touring Exhibition. Tamar Valley Printmakers UK and Printmakers of Cape Cod USA - Torre Abbey and Plymouth exhibitions 2020/21 RWA 168 Annual Open Exhibition 2020 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall 2019 Red Dot Art Mini Print Exhibition 2019 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2019 RWA 167 Annual Open Exhibition 2018 RWA 166 Annual Open Exhibition 2018 Red Dot Art Mini Print Exhibition 2018: RBSA Print Prize Open exhibition (third prize winner) 2018: International Mini Print - Seacourt (group) 2018: Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2017: Endelienta, open exhibition, Cornwall (group) 1991: HallRichards Gallery, London (solo) 1990: Cole and Cole Solicitors, Oxford (group) 1988: RWA, Bristol (136th annual open) 1988: Oxford Billboard project 1988: Red in Tooth and Claw, Westgate Exhibition Room, Oxford (group) 1987/8: Cahill and Grebler Gallery, London. Christmas show (group) 1986: Women on Men, Cahill and Grebler Gallery, London (group) 1980's: Open studio shows during the decade.
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Lucy MJ Ball Train Window - Rain Pen, Ink, Watercolour and Crayon on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lucy was born in 1956 and has lived in the UK since then. She studied at Swansea College of Art on the foundation course and at Canterbury College of Art on the Fine Art course, specialising in painting. Later on, as a mature student, she studied History of Art at Birkbeck College, University of London. Before moving to Devon from Oxfordshire in 1997, Lucy was principally a painter, once in Devon her practice as an artist went on hold for many years and for very many reasons. Returning to her practice she found herself producing very different work. Having done very little printmaking previously, she became captivated by the medium and in particular etching and aquatint. She exploits the darkness of the technique which perfectly suits much of her imagery which is often of dark subject matter peppered with a similarly dark humour. Subject matter is mostly to do with the human condition, relationships of people, of people and place and of people and animals. Lucy's subject matter is also informed by literature and myth. She also sees it as a cathartic process. The alchemical violence of the etching process perfectly suits this subject matter. She enjoys the unpredictability of printmaking and the surprises it creates. The process of etching provides her with a feeling of alchemically creating magic. It is a process requiring both creativity and a patient, often slow but considered adherence to technical considerations. Considerations which can of course, be bent and manipulated. Lucy suggests that monotype printmaking satisfies a need for intuitive and often unlikely outcomes, this medium along with drawing feeds and adds to her library of images and scenarios. Select Exhibitions/Awards 2021 Selected for Woolwich Contemporary Print Fair November 2021 Selected for RA Summer exhibition September '21-January '22 2021 Limekiln Gallery, Cornwall Summer Exhibition 2020/21 Journey: A Mayflower 400 Project. A Transatlantic Touring Exhibition. Tamar Valley Printmakers UK and Printmakers of Cape Cod USA - Torre Abbey and Plymouth exhibitions 2020/21 RWA 168 Annual Open Exhibition 2020 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall 2019 Red Dot Art Mini Print Exhibition 2019 Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2019 RWA 167 Annual Open Exhibition 2018 RWA 166 Annual Open Exhibition 2018 Red Dot Art Mini Print Exhibition 2018: RBSA Print Prize Open exhibition (third prize winner) 2018: International Mini Print - Seacourt (group) 2018: Fresh off the Press, Limekiln Gallery, Calstock, Cornwall (group) 2017: Endelienta, open exhibition, Cornwall (group) 1991: HallRichards Gallery, London (solo) 1990: Cole and Cole Solicitors, Oxford (group) 1988: RWA, Bristol (136th annual open) 1988: Oxford Billboard project 1988: Red in Tooth and Claw, Westgate Exhibition Room, Oxford (group) 1987/8: Cahill and Grebler Gallery, London. Christmas show (group) 1986: Women on Men, Cahill and Grebler Gallery, London (group) 1980's: Open studio shows during the decade.
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Gillian Garnica Etosha Carborundum on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Gillian's work is about paring down line and form to a minimum in order to create a quiet yet powerful presence. Her background as a photographer informs her approach to printmaking as she seeks out chance compositions in the world, reducing structures to their most basic, as if discovering a found drawing. These spare compositions convey a repose from the noise and fast pace of contemporary life. Education First-Class Degree in Photography and a Masters in Multidisciplinary Printmaking from University of the West England. Select Exhibitions/Awards Winner of the Galleries Magazine Award at BITE: Artists Making Prints and Rebecca Smith Award. Recipient of UWE Print Fellowship with bursary to study etching at Crown Point Press in San Francisco. Gallery Representation Smithson Gallery Statement about AOAP Submitted Artwork Whilst printing with carborundum, a fine silicon carbide, it reminded me of a natural salt pan. Meaning great white place, Etosha is a print based on the earth and dust covering the National Park of the same name in northern Namibia.
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Vicky Oldfield Bee Screenprint on Paper Signed on Front and Verso 15 x 10cm (5¾ x 3¾ in.) About Vicky is an artist and printmaker who likes to find beauty in the everyday - some weeds on a roadside, or a cluttered windowsill can set off a new collection. She treasures both the eccentric and the ordinary, inspired by collections of found objects and natural forms; she is fascinated with the structure and design found in flowers and plants, often redrawing the same plant many times over to explore the subtle variations in its form. Paintings often tell a story using collage and drawing, referencing a memory, time, or place. She starts with drawing often directly on to the plate, which is then drawn into and collaged with a variety of materials, card, fabric, paper, string, sand, and anything else that may come to hand; it's recycling at its most creative! The plates are then sealed, inked up and printed in intaglio or relief on damp paper using an etching press. The embossed textural quality of the print is unique to this method. They are often printed in one colour and then hand painted. Thanks to the process itself, Vicky can make small editions of the image; each edition will vary within its run due to the process itself and her desire to experiment. Each print produced is then unique. Education BA(Hons) Design Select Exhibitions/Awards She was elected a member of The Royal Society of British Artists in 2021. Her work has been exhibited in many major shows including the Royal Academy Summer exhibition and, she has also exhibited in America and Japan. Her work can currently be seen in many galleries across the UK.
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Vicky Oldfield Fragments Etching on Paper Signed on Front and Verso 15 x 10cm (5¾ x 3¾ in.) About Vicky is an artist and printmaker who likes to find beauty in the everyday - some weeds on a roadside, or a cluttered windowsill can set off a new collection. She treasures both the eccentric and the ordinary, inspired by collections of found objects and natural forms; she is fascinated with the structure and design found in flowers and plants, often redrawing the same plant many times over to explore the subtle variations in its form. Paintings often tell a story using collage and drawing, referencing a memory, time, or place. She starts with drawing often directly on to the plate, which is then drawn into and collaged with a variety of materials, card, fabric, paper, string, sand, and anything else that may come to hand; it's recycling at its most creative! The plates are then sealed, inked up and printed in intaglio or relief on damp paper using an etching press. The embossed textural quality of the print is unique to this method. They are often printed in one colour and then hand painted. Thanks to the process itself, Vicky can make small editions of the image; each edition will vary within its run due to the process itself and her desire to experiment. Each print produced is then unique. Education BA(Hons) Design Select Exhibitions/Awards She was elected a member of The Royal Society of British Artists in 2021. Her work has been exhibited in many major shows including the Royal Academy Summer exhibition and, she has also exhibited in America and Japan. Her work can currently be seen in many galleries across the UK.
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Vicky Oldfield Connected Etching on Paper Signed on Front and Verso 10 x 15cm (3¾ x 5¾ in.) About Vicky is an artist and printmaker who likes to find beauty in the everyday - some weeds on a roadside, or a cluttered windowsill can set off a new collection. She treasures both the eccentric and the ordinary, inspired by collections of found objects and natural forms; she is fascinated with the structure and design found in flowers and plants, often redrawing the same plant many times over to explore the subtle variations in its form. Paintings often tell a story using collage and drawing, referencing a memory, time, or place. She starts with drawing often directly on to the plate, which is then drawn into and collaged with a variety of materials, card, fabric, paper, string, sand, and anything else that may come to hand; it's recycling at its most creative! The plates are then sealed, inked up and printed in intaglio or relief on damp paper using an etching press. The embossed textural quality of the print is unique to this method. They are often printed in one colour and then hand painted. Thanks to the process itself, Vicky can make small editions of the image; each edition will vary within its run due to the process itself and her desire to experiment. Each print produced is then unique. Education BA(Hons) Design Select Exhibitions/Awards She was elected a member of The Royal Society of British Artists in 2021. Her work has been exhibited in many major shows including the Royal Academy Summer exhibition and, she has also exhibited in America and Japan. Her work can currently be seen in many galleries across the UK.
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Vicky Oldfield Patterns of Absence Etching on Paper Signed on Front and Verso 15 x 10cm (5¾ x 3¾ in.) About Vicky is an artist and printmaker who likes to find beauty in the everyday - some weeds on a roadside, or a cluttered windowsill can set off a new collection. She treasures both the eccentric and the ordinary, inspired by collections of found objects and natural forms; she is fascinated with the structure and design found in flowers and plants, often redrawing the same plant many times over to explore the subtle variations in its form. Paintings often tell a story using collage and drawing, referencing a memory, time, or place. She starts with drawing often directly on to the plate, which is then drawn into and collaged with a variety of materials, card, fabric, paper, string, sand, and anything else that may come to hand; it's recycling at its most creative! The plates are then sealed, inked up and printed in intaglio or relief on damp paper using an etching press. The embossed textural quality of the print is unique to this method. They are often printed in one colour and then hand painted. Thanks to the process itself, Vicky can make small editions of the image; each edition will vary within its run due to the process itself and her desire to experiment. Each print produced is then unique. Education BA(Hons) Design Select Exhibitions/Awards She was elected a member of The Royal Society of British Artists in 2021. Her work has been exhibited in many major shows including the Royal Academy Summer exhibition and, she has also exhibited in America and Japan. Her work can currently be seen in many galleries across the UK.
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Jasmine De Silva Crystal Queen Sofa Giclée Print on Hahnemühle German Etching Signed on Verso 12.7 x 17.8cm (5 x 7 in.) About Combining retrofuturism, hyperreal aesthetics, pop-art style colours and diamond studded female bodies, Jasmine De Silva playfully satirises the desire for physical perfection, holding up a mirror to our own dehumanising obsession with appearances, aiming to expose society's unrealistic standards of beauty. Jasmine studied at the London College of Fashion, completing a BA and MA in Fashion Photography. Upon graduating in 2019, Jasmine has won awards for emerging talent in both Photography and Directing. Education MA in Fashion Photography at London College of Fashion Select Exhibitions/Awards Winner Best Brand Campaign Fashion Film RD Festival 2021 Nomination for Channel 4 Random Acts Award LSFF 2020 Best picture of the month Art Jobs May 2020 Winner Best Emerging Talent Bokeh Fashion Film Festival 2019 PDN Emerging Photographer Winner 2019 Nomination Best Idea New Talent Barcelona FFF 2019 Fresh Eyes Gup Magazine Award 2019 September 2021 | Photo London x Public Offerings Series Talks May 2021 | Holy Art Infinity virtual exhibition October 2020 | Boomer Gallery Colour July 2019 | Festival Pil'Ours June 2019 | Fresh Eyes PhotoBook Selection Presented at Arles May 2019 | Espy Photography Award May 2019 | fotofestival Lenzburg Searching for Beauty April 2019 | ShutterHub Everything I Ever Learnt March 2019 | LCF Fashioned Worlds Oxo Tower Bargehouse January 2019 | Artistree Hong Kong Beyond Fashion February 2018 | Noiascape London Mirrors and Windows September 2016 | Notting Hill Curate Events London Winner June 2015 | LCFBA15 Shoreditch London Statement about AOAP Submitted Artwork The images I have submitted to AOAP are from my ongoing series, Crystal Queens. This series focuses on expressing how the world is our pageant show, that even in our most mundane ritualistic moments we can feel the pressure to be perfect. The Crystal face speaks of the vulnerabilities we have and it acts as an armour, a shell we have learnt to protect ourselves with from the exhaustive cycle of being compared to the constantly fluctuating barometer that is society's beauty ideals.
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Jasmine De Silva Crystal TV Giclée Print on Hahnemühle German Etching Signed on Verso 12.7 x 17.8cm (5 x 7 in.) About Combining retrofuturism, hyperreal aesthetics, pop-art style colours and diamond studded female bodies, Jasmine De Silva playfully satirises the desire for physical perfection, holding up a mirror to our own dehumanising obsession with appearances, aiming to expose society's unrealistic standards of beauty. Jasmine studied at the London College of Fashion, completing a BA and MA in Fashion Photography. Upon graduating in 2019, Jasmine has won awards for emerging talent in both Photography and Directing. Education MA in Fashion Photography at London College of Fashion Select Exhibitions/Awards Winner Best Brand Campaign Fashion Film RD Festival 2021 Nomination for Channel 4 Random Acts Award LSFF 2020 Best picture of the month Art Jobs May 2020 Winner Best Emerging Talent Bokeh Fashion Film Festival 2019 PDN Emerging Photographer Winner 2019 Nomination Best Idea New Talent Barcelona FFF 2019 Fresh Eyes Gup Magazine Award 2019 September 2021 | Photo London x Public Offerings Series Talks May 2021 | Holy Art Infinity virtual exhibition October 2020 | Boomer Gallery Colour July 2019 | Festival Pil'Ours June 2019 | Fresh Eyes PhotoBook Selection Presented at Arles May 2019 | Espy Photography Award May 2019 | fotofestival Lenzburg Searching for Beauty April 2019 | ShutterHub Everything I Ever Learnt March 2019 | LCF Fashioned Worlds Oxo Tower Bargehouse January 2019 | Artistree Hong Kong Beyond Fashion February 2018 | Noiascape London Mirrors and Windows September 2016 | Notting Hill Curate Events London Winner June 2015 | LCFBA15 Shoreditch London Statement about AOAP Submitted Artwork The images I have submitted to AOAP are from my ongoing series, Crystal Queens. This series focuses on expressing how the world is our pageant show, that even in our most mundane ritualistic moments we can feel the pressure to be perfect. The Crystal face speaks of the vulnerabilities we have and it acts as an armour, a shell we have learnt to protect ourselves with from the exhaustive cycle of being compared to the constantly fluctuating barometer that is society's beauty ideals.
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Jasmine De Silva Crystal Queen Pink Giclée Print on Hahnemühle German Etching Signed on Verso 12.7 x 17.8cm (5 x 7 in.) About Combining retrofuturism, hyperreal aesthetics, pop-art style colours and diamond studded female bodies, Jasmine De Silva playfully satirises the desire for physical perfection, holding up a mirror to our own dehumanising obsession with appearances, aiming to expose society's unrealistic standards of beauty. Jasmine studied at the London College of Fashion, completing a BA and MA in Fashion Photography. Upon graduating in 2019, Jasmine has won awards for emerging talent in both Photography and Directing. Education MA in Fashion Photography at London College of Fashion Select Exhibitions/Awards Winner Best Brand Campaign Fashion Film RD Festival 2021 Nomination for Channel 4 Random Acts Award LSFF 2020 Best picture of the month Art Jobs May 2020 Winner Best Emerging Talent Bokeh Fashion Film Festival 2019 PDN Emerging Photographer Winner 2019 Nomination Best Idea New Talent Barcelona FFF 2019 Fresh Eyes Gup Magazine Award 2019 September 2021 | Photo London x Public Offerings Series Talks May 2021 | Holy Art Infinity virtual exhibition October 2020 | Boomer Gallery Colour July 2019 | Festival Pil'Ours June 2019 | Fresh Eyes PhotoBook Selection Presented at Arles May 2019 | Espy Photography Award May 2019 | fotofestival Lenzburg Searching for Beauty April 2019 | ShutterHub Everything I Ever Learnt March 2019 | LCF Fashioned Worlds Oxo Tower Bargehouse January 2019 | Artistree Hong Kong Beyond Fashion February 2018 | Noiascape London Mirrors and Windows September 2016 | Notting Hill Curate Events London Winner June 2015 | LCFBA15 Shoreditch London Statement about AOAP Submitted Artwork The images I have submitted to AOAP are from my ongoing series, Crystal Queens. This series focuses on expressing how the world is our pageant show, that even in our most mundane ritualistic moments we can feel the pressure to be perfect. The Crystal face speaks of the vulnerabilities we have and it acts as an armour, a shell we have learnt to protect ourselves with from the exhaustive cycle of being compared to the constantly fluctuating barometer that is society's beauty ideals.
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Jasmine De Silva Crystal Queen Astronaut Giclée Print on Hahnemühle German Etching Signed on Verso 14.4 x 17.3cm (5½ x 6¾ in.) About Combining retrofuturism, hyperreal aesthetics, pop-art style colours and diamond studded female bodies, Jasmine De Silva playfully satirises the desire for physical perfection, holding up a mirror to our own dehumanising obsession with appearances, aiming to expose society's unrealistic standards of beauty. Jasmine studied at the London College of Fashion, completing a BA and MA in Fashion Photography. Upon graduating in 2019, Jasmine has won awards for emerging talent in both Photography and Directing. Education MA in Fashion Photography at London College of Fashion Select Exhibitions/Awards Winner Best Brand Campaign Fashion Film RD Festival 2021 Nomination for Channel 4 Random Acts Award LSFF 2020 Best picture of the month Art Jobs May 2020 Winner Best Emerging Talent Bokeh Fashion Film Festival 2019 PDN Emerging Photographer Winner 2019 Nomination Best Idea New Talent Barcelona FFF 2019 Fresh Eyes Gup Magazine Award 2019 September 2021 | Photo London x Public Offerings Series Talks May 2021 | Holy Art Infinity virtual exhibition October 2020 | Boomer Gallery Colour July 2019 | Festival Pil'Ours June 2019 | Fresh Eyes PhotoBook Selection Presented at Arles May 2019 | Espy Photography Award May 2019 | fotofestival Lenzburg Searching for Beauty April 2019 | ShutterHub Everything I Ever Learnt March 2019 | LCF Fashioned Worlds Oxo Tower Bargehouse January 2019 | Artistree Hong Kong Beyond Fashion February 2018 | Noiascape London Mirrors and Windows September 2016 | Notting Hill Curate Events London Winner June 2015 | LCFBA15 Shoreditch London Statement about AOAP Submitted Artwork The images I have submitted to AOAP are from my ongoing series, Crystal Queens. This series focuses on expressing how the world is our pageant show, that even in our most mundane ritualistic moments we can feel the pressure to be perfect. The Crystal face speaks of the vulnerabilities we have and it acts as an armour, a shell we have learnt to protect ourselves with from the exhaustive cycle of being compared to the constantly fluctuating barometer that is society's beauty ideals.
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Anja Carr Soup (Lobster) Giclée Print on Hahnemühle German Etching Signed on Front 15 x 10cm (5¾ x 3¾ in.) About Born in Bergen, Norway, lives and works in Oslo, Norway Education 2011 - 2009: Master in Fine Art Academy of Fine Art, Oslo National Academy of the Arts (Prof. Henrik Plenge Jakobsen), Oslo (NO) 2009 - 2008: Exchange Department of sculpture, Kunsthochshule Berlin Weissensee (Prof. Susanne Weirich), Berlin (DE) 2009 - 2006: Bachelor in Fine Art Department of Fine Art, Bergan National Academy of the Arts (Prof. Karen Kipphoff and Amanda Steggell), Bergen (NO) 2006 - 2004: 2-year Fine Art Diploma Kunstskolen i Bergen / Bergen Art School, Bergen (NO)
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Anja Carr Soup (Octopus) Giclée Print on Hahnemühle German Etching Signed on Front 15 x 10cm (5¾ x 3¾ in.) About Born in Bergen, Norway, lives and works in Oslo, Norway Education 2011 - 2009: Master in Fine Art Academy of Fine Art, Oslo National Academy of the Arts (Prof. Henrik Plenge Jakobsen), Oslo (NO) 2009 - 2008: Exchange Department of sculpture, Kunsthochshule Berlin Weissensee (Prof. Susanne Weirich), Berlin (DE) 2009 - 2006: Bachelor in Fine Art Department of Fine Art, Bergen National Academy of the Arts (Prof. Karen Kipphoff and Amanda Steggell), Bergen (NO) 2006 - 2004: 2-year Fine Art Diploma Kunstskolen i Bergen / Bergen Art School, Bergen (NO)
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Alice Irwin Postcard Spray Paint on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Irwin aims to convey the innocence we possess as children but also to express the message of human identity; she wants some aspects of her work to be playful, naïve and comical while others are more thought-provoking. Her work offers contrasts: some parts are tactile; others create kinetic experiences in the mind. These contrasts are designed to stimulate different kinds of memory. Education 2016-2018: Royal College of Art London, MA Print. 2013-2016: City and Guilds of London Art School, BA Fine Art. 2012-2013: Cambridge Regional College, Art and Design Foundation Year. Select Exhibitions/Awards I am an award-winning artist, working with print, etching and sculpture to reference childhood experiences and create my own creatures from imaginary worlds. Having graduated from the RCA in 2018, I presented a solo show entitled 'People Play' at the Piece Hall in 2020 where I had a large outdoor public sculpture commission. In 2018, I had a solo show at the Yorkshire Sculpture Park and in 2017 I won the Contemporary Art Trust prize for a series of prints. I have presented exhibitions at Flowers Gallery, Sid Motion Gallery, CGP London and East of Elsewhere in Berlin, and a Solo show in Tremenheere Sculpture Garden 2021. My group of sculptures entitled 'Peeps' is currently being exhibited in Canterbury at The Beaney House of Art and Knowledge, which was commissioned by Sky Arts. Statement about AOAP Submitted Artwork Built up in layers, each artwork looks at the sweet times we have in life, focusing on positive things each individual experiences and focusing on the good things we have day to day. Brightly coloured and abstract, these works take forms from Irwin's own unique visual language.
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